Myth and Prosthesis I: Do Robots Have an Ethnicity?

Absolute power creates technology
which creates prostheses
which create reality.
Personal mythology creates technology
which creates prostheses
which create realities
outside the absolute power.

 

Myth is the new arena of the bio-politics of capitalism: our dreams, our delusions, and the relationship between body, mind and reality are the space where some of the most important disputes are happening. In this arena, prostheses and new technologies are key in the control of the possible synaptic connections between mind, body, and reality. I use the world myth to describe this field of negotiations because while capitalism has privileged a modern scientific language (terms such as virtual worlds, parallel universes, neurology, psychiatry, or psychoanalysis) the term “myth” can include other non-Western systems of meaning as well as the modern scientific mythology. I am also interested in de-colonizing the word myth, and take it away from the monopoly of the meta-narratives of rationalism, new age and official religions, that have opposed myth to technology. I understand myth as a becoming, a rhizome, an always precarious field producing new relationships between mind, body and technology beyond the frames of capitalism.

“Myth and Prosthesis I” proposes an alternative map of the geopolitics of myth, in the context of music. It asks in who’s image are new music technologies being designed? Do robots have an ethnicity? What is the place of non-Western cosmologies in the development of new prostheses, technologies and myths? These questions subvert the fantasy of the universal modern scientific project which has constructed itself as a-historic and a-political. It demands the unveiling of the cultural history and political agenda behind the development of new technologies.

I made this sound sculpture out of need, as a prosthesis that suits me better. Contemporary music technologies are based in most cases in a Western logic of rhythm. Like in Western notation, there is a single grid in which time flows from left to right, and there is a single metronome that acts as a conductor. The brain of my prosthesis is a software which works in a different way: it has Latin American logic of rhythm. It is a max/msp patch with two metronomes and several grids in constant displacement. It improvises in real time with accuracy and no latency, generating polyrhythmic textures. The software controls solenoid which hit a set of Batá drums, used in Santeria/Yoruba rituals. I am not a Santeria practitioner, but the Yoruba concepts of rhythm and dance are a big influenced in my own music and in Latin American music in general. The choice of Batá drums is also an intentional reference to the neuro-spiritual technologies of trance religions such as Santeria, where rhythm and dance are a technology that produces knowledge. “Myth and Prosthesis I: Intersectional Robotics” is an altar to the possibility of creating my own mythology and prostheses, a personal relationship between technology, mind, body and reality, from the margins of capitalism’s map. It is a precarious and mythological antenna that channels a parallel world where Yoruba priests and Nasa scientists are at this moment developing new neuro-spiritual devices. It is also a theory of art manifesto:  No critical discourse can pretend any effectiveness if it does not propose an alternative mythology and technology to the seemingly unescapable myths of capitalism. And art has a primordial responsibility in creating that new mythology.

 

 

 

 

 

Video excerpt of a real time improvisation by the sound sculpture on its own: 

 

 

 

Studio photos by Juan Pablo Aragón